A Japanese living in London writes anything about everyday life in UK – cafe, restaurant, design, stores, politics, news, events, art/museums, films, food, fashion, travel etc. イギリス暮らしもかれこれ10年。カフェ、レストラン、デザイン、お店、政治、ニュース、イベント、アート／美術館、映画、食、ファッション、旅行等々、ロンドンでの日常生活や、英国に関する情報を思いつくままに綴ります。
I read an interesting article on today’s the Times – there are more musicians and singers from posh families emerging in Pop and Rock music industry. Rock has been historically resistant to the upper classes, and during 1960s and the 1990s when working-class pop stars dominated hit charts, rock and pop stars were the dream and hope of the poor boys and girls, while it was disdain and derision for the privileged kids who already has many options in their futures. Therefore, pop stars from good families once tried to hide their background. But now the time has changed.
The article mentions several reasons for a rise of posh pop stars. One of the reasons is that posh kids are brought up with good manners to make through the stardom: they are polite, friendly, likeable, and this help them become popular also in the world-biggest music market America, where good manners are judges as well as talent and attitude. That’s the reason why Oasis and Arctic Monkeys, top working-class stars with a bad-boy attitude, couldn’t succeed big in the USA, according to the article. Public schools‘ value in strong work ethic is another key to success in America, where hard working is very important. Confidence that public schools students internalize through the elitist education is crucial factor for success on stage.
Another reason is that public schools have great facilities, and there is a tradition that new boys have choral tests. Old public school teachers once considered rock music as silly and childish folly, but younger teachers who grew up with rock and pop music now see it as one of the valid career option and encourage students to go for music.
Now Tory, traditionally supported by middle/upper class, won the last election and Etonian and Oxford grad elite David Cameron became a prime minister. Public School graduates, about only 7% of the population, occupy over 50% of prestigious jobs such as lawyers, medics, journalists and CEOs (reference site) , and the result still shows UK is still strong class society. If the posh kids even monopoly music industry, where poor kids can find their goals and dreams?
English National Opera（イングリッシュ・ナショナル・オペラ／ENO）で、ヘンデルのメサイア（Messiah）を観た。イエス・キリストの生涯を描いたオラトリオの名作・メサイアは、もともとオペラの楽曲ではないのだが、気鋭の演出家・Deborah Warner（デボラ・ワーナー）によって、現代社会を舞台に、ダンスを取り入れたユニークなオペラ作品に仕上がった。衣装も小物も現代風、時折舞台後方のスクリーンに宗教画が映されたり、キリスト教の儀式に使われる小道具が劇中に出てくる程度で、キリストの物語にも関わらず宗教色は強くない。ティーンエイジャーの妊娠はマリアの処女懐胎、天使が羊飼いにキリスト降誕を告げる場面は、お遊戯会で子供たちがその場面を演じる形に、キリストの磔刑シーンは、若者の喧嘩に変えるなど、原作と繋がりを持たせようとしているが、ちょっと無理があるかも。キリスト教の学校に行っていたので、ある程度の知識はあるのだが、舞台上で起こってることと音楽とどう繋がりがあるのか分からず、後でタイムズ紙のレビューを読んで、ああそういうことだったのかと得心した。
We saw Handel‘s Messiah at the English National Opera (ENO). Messiah was not written for opera, but the director Deborah Warner transforms this oratorio masterpiece into an unique opera work, setting in modern urban life and taking in dance elements. The opera seems to reduce religion to a minimum – costumes and stage sets are modern, except the religious arts occasionally projected on screens and some ceremonial objects used in some scenes. The director tries to make a connection between the original story and this opera, but the attempt unfortunately doesn’t not really work well and quite cheesy: the Virgin Birth becomes teenage pregnancy, the meeting of shepherds and angels is turned into a school nativity play, and Christ’s scourging and Crucifixion translate into a fight among youths. I went to a Protestant school and know a bit about the life of Jesus Christ, but I barely understood the relationship between the music and what was going on on the stage. I figured out the meaning of some scenes after I came back home and read the review by the Times.
The biggest problem for me was the kids in the opera – I know it is not their fault but it was just annoying. A 6 year-old boy was almost always on the stage, walking around, running or sitting down, and it was very distracting. The scene of school play was really irritating as well, except a song by a boy with beautiful clear voice: the kids jumped up and down and the parents took a pictures or filmed with camcorders. It is reported that the opera uses 44 extras other than singers, including dancers. Some people just stand up or lie down – is it really necessary to put useless people on the stage??
However I I like Handel and Baroque music and enjoyed the music a lot: the Handel specialist conductor Laurence Cummings led the orchestra beautifully and voices of the two female soprano and alto singers were truly graceful. The modern and simple stage sets designed by Tom Pye were interesting, such as video footage of modern society (people going up and down on an elevator, or silhouettes of moving cranes) and transparent coffins placed all over the stage at the final part. We got a ticket, original price of £71 for only £10 with Evening Standardpromotion – so it was really worth going. But I would be upset if I paid £71 for the opera…